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When is the now in the here and there? Trans-diegetic music in Hal Ashby's Coming Home
Alphaville: Journal of Film and Screen Media
While it would be a stretch to classify Hal Ashby as a postmodernist filmmaker (with that term's many attendant ambiguities), his films of the 1970s regularly evince post-Classical stylistic and narrative strategies, including non-linear time structures, inter-textual self-references, open endings, and nuanced subversions of the fourth wall. Ashby's most consistently playful approach to form comes by way of his integration and development of trans-diegetic musical sequences within his body ofdoi:10.33178/alpha.3.03 fatcat:jynyeh6xabanbaigwljgavcyfu